Catalogue 348 Catalogue 348

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Cover Images: No. 28 Depero Ursus Rare Books New York City Please inquire for further images and complete descriptions 1. Pierre BONNARD Parallèlement.

By Paul Verlaine. [6], 139, [3] pp. Illustrated with a lithographic frontispiece, wood-engraved title-vignette (repeated on front wrapper), 108 lithographs, and 8 wood-engravings cut by Tony Beltrand after Bonnard designs. Folio, 290 x 240 mm, in the original wrappers. Paris: Ambroise Vollard, 1900. $ 75,000.00

Superb copy in original unwashed condition with the extra Bonnard frontispiece. Parallèlement is the first great livre de peintre of the twentieth century, a Vollard creation which set the standard for innovative fusion of text and illustration. Bonnard’s seductive rose-coloured lithographs drape across the pages of text, making Parallèlement a full collaboration of writer, artist, publisher, and printer. Use of color such as this was not attempted again for many years (Arts of the French Book, p. 29).

Limited to 200 copies, however this is ‘J” of one of 21 lettered copies, so noted by Vollard in ink with his signature below the colophon, on Holland wove paper. There is some light spotting to a few pages, which is true in all copies of this work, but a superior copy with far less spotting than usual.

Arts of the French Book 6. From Manet to Hockney 17. The Artist and the Book 27. Rauch 21. (#165504) sensation with audiences and critics. Stephane Mallarme, the leading poet of the Symbolist movement, dubbed her “La Loie.” One reviewer described the effect as “unique, ethereal, delicious... she emerges from darkness, her airy evolutions now tinted blue and purple and crimson, and again the audience... insists upon seeing her pretty piquant face before they can believe that the lovely apparition is really a woman.”

Pierre Roche (1855 -1922), French sculptor, made his first relief prints using a plaster mold, then adding colours to each print with a brush. He called these new forms of monotypes “Printed Watercolours.” Subsequently, Roche developed what he called “gypsography,” a graphic process that used a metallic mold in place of his original plaster molds, which proved too fragile for repeated printings. Some light scattered foxing, still a very nice copy. The book is rare in any condition, but especially so in the original wrappers and box.

Carteret IV, p. 345. (#164865) 2. Pierre ROCHE La Loie Fuller.

Text by Roger Marx. 26 pp. With 17 colour relief engravings by Pierre Roche. Small folio, 265 x 200 mm, bound loose as issued in the original illustrated embossed wrappers and cardboard chemise. Preserved in an elaborate carved wooden slipcase. Evreux: Charles Hérissey, 1904. $ 15,000.00

One of the rarest and most beautiful books of the Fin de Siecle. Marx’s La Loie Fuller is also one of the most curious books from the Art Nouveau period. Using a reproductive process unseen in book production, the illustrator Pierre Roche captured the fluid movement of Loie Fuller’s robes swishing through the air via his new process of ‘coloured relief engravings.’ This is number 48 of an edition of 130 copies.

Loie Fuller (1862-1928), a burlesque dancer whose fame rested on her renowned “skirt dance,” developed a unique form of choreography which emphasized the human body as transformed by artful manipulation of her silk dress, especially under coloured gas lighting. By 1892 Fuller was in Paris and performing with the Folies Bergeres. She was an immediate “In works like his illustrated fable Die Träumenden Knaben (“The Dreaming Youths”), Kokoschka’s stream-of-consciousness nursery-rhyme narrative style, and his quirky magic-garden vision -- in which schematic figuration and bluntly stylized organic form floated in uncertain fields of space -- seemed in direct communication with the uncorrupted resources of a child’s imagination” (Varnedoe, Vienna 1900 p. 94). The strong colours of his lithographs provide an exotic landscape to support Kokoschka’s text. “This book, and Slevogt’s Sinbad, Berlin, 1908, are the first important modernlivres de peintres from east of the Rhine” (Garvey).

At the time Kokoschka published this book, he was an unknown, twenty-one year old prodigy; sadly, only a few copies were sold, and the remainder of the edition was only issued ten years later in a new binding by the German publisher Kurt Wolff. This is a fine copy, with wear to the fragile fabric of the binding, which seems always to be the case..

The Artist and the Book 147. A Century of Artists Books p. 107. From Manet to Hockney 24. Johnson, Artists’ Books in the Modern Era 1870-2000, No. 24. (#168745)

3. Oskar KOKOSCHKA Die Träumenden Knaben.

10 ff. Illustrated with 10 lithographs (8 in colour and 2 in black & white), by Oscar Kokoschka. 4to., 240 x 275 mm, bound in original publisher’s tan cloth with lithographic label, in a protective cloth box. Vienna: Wiener Werkstätte, 1908. $ 50,000.00

Earliest Issue of this remarkable illustrated book in its original Wiener Werkstätte binding. This was the first graphic work by the painter Oskar Kokoschka. Found here in a brilliant copy, Die Träumenden Knaben represents a major document of modern art, in part because Kokoschka’s colour lithographs foreshadow the expressionist movement. From 1903 to 1909 Kokoschka studied at the Kunstgewerbeschule in Vienna; one of his professors being Gustav Klimt. Klimt commissioned this livre de peintre for the Kunstschau which exhibited some of the earliest art works of Viennese Art Nouveau, or Jugendstil. Kokoschka dedicated the book to Klimt. 4. Corrado GOVONI 5. Hans ARP Rarefazioni e Parole in Libertà. Vingt-cinq Poemes.

50, [4] pp. Illustrated throughout with various typographical By Tristan Tzara. Illustrated with 10 woodcuts by Arp. 8vo., 205 elements and drawing reproductions. Folio, 320 x 245 mm, bound x 145 mm, bound in original printed boards with a design by Arp. in publisher’s printed wrappers. Preserved in a new orange cloth In a new slipcase. Zurich: Heuberger, 1918. folding box. Milan: [Edizione Futuriste di “Poesia”], 1915. $ 12,500.00 $ 3250.00 First Edition. A superb association copy of this rare and important First Edition. One of the rarer and more unusual works of Futurist early Dada work, inscribed by Tzara to Paul Dermee, the Belgian poetry and typography by poet Corrado Govoni (1884-1965), poet, whom he had at one point named editor-in-chief of DADA. who only briefly experimented with the movement. Rarefazioni The edition bears no limitation but was extremely small. The e Parole in Libertà emphasizes Futurism’s interest in the freedom book is an important collaboration between two of the founders of childhood with its mixture of the usual typographical elements of the Dada movement who were also two of its most prolific in concert with naive illustrations throughout. The result is both proponents. A small repair to the rear boards, but otherwise an charming and arresting. An exceptionally fine copy. immaculate copy.

The Avant-Garde Applied 1890-1950, L50. (#150039) The Artist and the Book 2. A Century of Artists Books p. 177. (#168746) 7. Oscar JESPERS Bezette Stad. 6. Kurt SCHWITTERS By Paul van Ostayen. [76] ff. Illustrated with woodcuts by Die Kathedrale. Oscar Jespers. 4to., 285 x 220 mm, bound in original illustrated wrappers, in a new navy cloth box with white leather label. Text by Kurt Schwitters. Illustrated with 7 lithographs by Antwerp: Uitgave van het Sienjaal, 1921. Schwitters. 8vo., bound in original illustrated wrappers and $ 7500.00 label, preserved in half morocco sleeve and matching slipcase. Hannover: Paul Steegemann, 1920. Dutch/Flemish avant-garde bookmaking at its best. The $ 17,500.00 innovative use of typography, combined with dramatic woodcuts, make this one of the more “forward-looking” books produced in A superb copy of this rare, important and fragile Dada pamphlet, the twenties. The wrappers have been expertly restored with issued in an unspecified edition, issued as a special isssue of the spine and a small segment of the front cover replaced, else Schwitters’ periodical Merz. “The Kathedrale graphics are in very good condition. doubtless the finest, most original works produced by Schwitters at this time, and they deserve a place of honour in the history of One of 500 copies on Registre paper, of a total edition of 540, modern graphics”’ (Schmalenbach). signed by René Victor, who collaborated with Jespers on the design.

The Artist and the Book 278. A Century of Artists Books 158. Artists’ Books in the Modern Era 1870-2000, No. 35. Andel 128. Schmalenbach, Kurt Schwitters. (#168624) (#153307) 8. Géo NAVEZ 9. Juan GRIS Miousic. Sept Poemes a l Louange de la A Book Concluding With As A Wife Has A Cow. Musique Baroque. By Gertrude Stein. [27] pp. Illustrated with 4 lithographs By Paul-Gustave Van Hecke. 46, [2] pp. Illustrated with 7 pochoir including one in colour. In original wrappers. In a recent half plates. Folio, 325 x 235 mm, bound in publisher’s printed wrappers morocco folding box. Paris: Galerie Simon, 1926. in a new red cloth folding box. Brussels: Editions Selection, 1921. SOLD $ 3850.00 Gertrude Stein’s first work published in France, featuring four This is one of 25 copies on Holland hors commerce and lettered soft-toned and subtle lithographs by Juan Gris. The book O of a total 132 copies printed. Inscribed by the author to the represents one of the most celebrated relationships in twentieth- secretary of the Comedie Française, Jean Valmy-Baisse. century art; additionally it links the publisher Kahnweiler, who was Gris’s dealer and the owner of the Galerie Simon. Virtually A collection of 7 poems by the polymath Paul-Gustave Van Hecke all of Gris’s graphic work appeared in the five books published (1887-1967), a Belgian poet and art patron, who was associated by Kahnweiler. The final print in the book is the last one that with the surrealists, especially Magritte, Ernst and Man Ray. The Gris ever made (he died the next year). Copy number one of poems are accompanied by 7 striking hand-coloured pochoir 90 copies out of a total 112. Signed by both the author and the plates by Géo Navez (1890-1975), a central figure in the artistic artist. In mint condition. avant-garde in 1920’s Belgium. Edges of the covers a little worn as true in most copies, overall a near fine copy. (#166301) Chapon, p. 285. Strachan, p. 54. Stein 82. (#167369) 11. Yves TANGUY Dormir, Dormir, dans les Pierres.

By Benjamin Peret. Illustrated with three full-page plates and 10. Albert HASSELWANDER 10 vignette head- and tail-pieces. 8vo., 227 x 178 mm, bound Ein Anatomischer Totentanz. in original illustrated wrappers, preserved in a new tan cloth folding box. Paris: Editions Surréalistes, 1927. 27, [1] pp. Illustrated with 50 photographic plates. Small 4to., $ 4850.00 220 x 175 mm, bound in original publisher’s half vellum over brown boards. Munich: J.F. Bergmann, 1926. In this copy Tanguy has added additional colouring by hand $ 8500.00 in gouache and water-colour to the front cover and the title page. ‘The cover and illustrations of this first embellishment of Only Edition, an inscribed copy, of this photographic anomaly, a Surrealist text by the artist are reproductions of his drawings, offering an “Anatomical Dance of Death,” prepared for the use which he has enhanced with white paint on the first copies. of artists, with a long preface on the illustrated history of the In the year this book was published the self-taught Tanguy “Dance of Death” by Hasselwander. There are 25 photographic introduced small biomorphic and pebble forms into the barren plates of dramatically positioned nudes, each one accompanied landscapes that characterized his compositions.’ (Castleman). by 25 photographs on the facing plate capturing their skeletal From the edition limited to 210 numbered copies, all signed by “death” portrait, in mirror position. Ein Anatomischer Totentanz, Tanguy and Péret on the justification, with this one of 175 copies prepared in collaboration with the painter Fritz Stell, is far closer on vergé. A fine, unopened copy. to a photographic “Dance of Death” than a medical work on the musculo-skeletal system. In excellent condition. (#164781) From Manet to Hockney 80. Castleman 179. (#166306) 12. Claude CAHUN 13. Vilmos HUSZAR Aveux Non Avenus. Bruynzeel’s Fabrieken, Zaandam.

With a preface by Pierre Mac Orlan. Illustrated with 10 72 pp. Profusely illustrated with photomontages. Oblong 4to., heliographs executed by Moore after designs by Cahun. 8vo., bound in publisher’s wrappers, in a new dark blue cloth folding bound in original publisher’s wrappers. In a new cloth folding box. Zaandam, Netherlands: [C. Bruynzeel & Zonen], 1930. box. Paris: Éditions Du Carrefour, 1930. $ 3500.00 SOLD A fine copy of Huszar’s magnum opus as a book designer, A SUPERB PRESENTATION COPY to Henry Gardet. A very good and a book which prefigured the work of Piet Zwart, who copy of this much sought-after book, the only one illustrated with produced most of Bruynzeel’s catalogues. The work makes use the surreal images of Cahun (Lucy Schwob), the celebrated poet, of photomontage and colour typography to create a visually writer and photographer. Cahun, one of the most mysterious stunning work. Slight wear to spine, otherwise a fine copy. A figures of the Surrealist movement, incorporates many self- rare book of which OCLC lists only 2 copies, one at CCA and the portraits in her montages which are imbued with a keen sense of other in the Amsterdam Public Library. (#164776) the absurd. This copy with a lengthy and elaborate inscription from Cahun. Copy L of 25 review copies of a total edition of 525 copies. Spine professionally restored, still a nice clean copy.

Roth, The Book of 101 Books 62-63. (#166566) 14. Johannes ITTEN 15. Max ERNST Tagebuch. Beiträge zu einem Kontrapunkt Rêve d’une Petite Fille qui voulut entrer au der Bildenden Kunst. Carmel.

114 pp. Illustrated throughout by Itten, including several colour 176 pp. Illustrated with reproductions of 79 collages by Max Ernst. pochoir plates and numerous tipped-in photographs. Oblong 8vo., 265 x 200 mm, bound in original illustrated wrappers, in a folio, 390 x 525, bound in publisher’s blue cloth and matching new linen cloth folding box. Paris: Éditions du Carrefour, 1930. slipcase. Berlin: Verlag der Itten-Schule, 1930. $ 8500.00 $ 4750.00 Ernst’s rare second collage novel about an adolescent girl who A legendary rarity, of which the bulk of the edition was destroyed loses her virginity on the day of her first communion and so in the war. This is Itten’s Bauhaus teaching manual, illustrating his commits herself to a religious vocation as a Carmelite nun. This teaching philosophy and expounding on his theories of colour, is number 359 of the edition of 1000 copies on Velin. Most composition, form, etc. The text is lithographed from Itten’s own surviving copies have been bound, so to have a copy still in handwriting and profusely illustrated with his designs. One of the original wrappers as issued is highly desirable. Spine lightly a total edition of 330. This is one of the surviving copies, which faded. had remained in sheets, and was bound up and offered for sale in 1962. (#165159) Spies, Max Ernst Collages 361-386. (#166300) 16. Salvador DALÍ La Femme Visible.

72, [6] pp. Illustrated with a heliogravure frontispiece by Salvador Dali plus photographic portrait of Gala and three architectural photographs plus three Dali reproductions. Small folio, 285 x 225 mm, bound in original aluminum paper wrappers covered by red tissue paper with title printed in black on the cover. In a new red cloth box. Paris: Editions Surrealistes, 1930. SOLD

A fine copy of one of Dali’s earliest books, containing a superb frontispiece heliogravure reworked with needle, in addition to a portrait photograph of Gala which had been reworked by Max Ernst in 1925. The Dali texts were selected by Gala and consist of “Ane pourri”, “Chevre sanitaire”, “Amour” and “Le Grand masturbateur”.

One of 135 on Arches from a total of 204 printed. Inscribed by Dali to Andre Lhote on the half-title. Some slight wear to the fragile red tissue covers, otherwise a fine copy.

Michler and Lopsinger, Salvador Dali: Catalogue Raisonné of Etchings and Mixed-Media Prints, 1924 - 1980. No.4. (#164368) 17. Max ERNST Mr. Knife and Mrs. Fork.

Text by René Crevel, trans- lated by Kay Boyle. With 19 photograms of frottages by Max Ernst. 8vo., bound in the original full black cloth, elaborately gilt and embossed designed by Ernst on covers, in a sleeve and slipcase by Leroux. Paris: The Black Sun Press, 1931. $ 20,000.00

A celebrated and rare sur- realist collaboration. This is one of 200 copies on “finest Bristol paper.” The nineteen photograms illustrating the book were produced from Max Ernst’s frottages, created by rubbing translucent paper on top of a textured surface/image. Using this “impression” on the special paper, Ernst then shot light through the thin paper onto photosensitive paper underneath, creating a type of photographic negative. These were then reproduced in the form of negative photograms with the assistance of Man Ray. The resulting white lines and white designs set off against the pitch black background set the perfect surrealist stage for Ernst’s powerful and unsettling imagery. A superb copy with the frontispiece signed by Max Ernst.

Rainwater, Beyond Surrealism 30. Roth, The Book of 101 Books 66-67. Spies & Leppien, Max Ernst Das Graphische Werk 13. Spies & Rewald, Max Ernst A Retrospective, Metropolitan Museum of Art, 2005, # 107. (#168623) 18. El LISSITZKY SSSR Stroit Sotzializm. [USSR Builds The 19. Iakov CHERNYKOV Socialism]. Arkhitekturniie Fantazii [Architectural Fictions]. xxvi, 282, [4] pp. Illustrated throughout with photographs. 102 pp. Illustrated with numerous textual illustrations and 101 Folio, bound in publisher’s cloth-backed boards, preserved in a colour plates. Small folio, 300 x 200 mm, bound in original blue new red cloth folding box. Moscow: Izozis, 1933. embossed cloth. Leningrad: “Meshdunarodnaja Kniga”, 1933. $ 12,500.00 $ 9750.00

A spectacular example of Lissitzky’s skill as a bookmaker, and First Edition of this landmark work of Soviet architectural fantasies, one of the finest examples of the Soviet propaganda photobook. lavishly illustrated with dramatic designs of possible cities, It was, in fact, his first propaganda album. This hymn to the factories, monumental buildings, and more. This is the best and Soviet state was assembled by Lissitzky making photomontages most important publication by Chernykov, and one of the most from the photographs of unidentified photographers. The exciting books on architecture issued in the twentieth century, endpapers reproduce the phrase “Workers of the World unite” “an amazing compendium of one hundred and one coloured in 32 languages. Despite the immense edition of 25,000 copies, inventions which still excite the imagination today... The verdict few copies seem to have survived. An unusually fine copy. must surely be that Tchernykov’s almost unlimited imagination for architectural forms provides a pattern book for modernist Bibliotheca Wittockiana, Russian Book Art 69. Parr, The architecture, rather than a repertoire of viable designs” (Compton, Photobook Vol. 1, 155. Karasik and Heiting. The Soviet Photobook Russian Avant-Garde Books 143-4). Binding with some minor pp. 190-195. (#167434) professional restoration, overall in excellent condition.

Andel 301-302. (#166889) 20. Salvador DALÍ Les Chants de Maldoror.

By Comte de Lautréamont, (Isidore Ducasse). 208, [4] pp. Illustrated with 42 original etchings by Dalí, of which 30 are full page hors-texte plates, printed by Lacourière. Folio, 318 x 243 mm, bound in full dark blue morocco by Devauchelle, preserved in a matching slipcase. Paris: Albert Skira Editeur, 1934. $ 57,500.00

A fine copy ofDalí’s masterpiece as a book-illustrator, and one of the major monuments of twentieth-century book-illustration. It was Picasso who suggested that Dalí should illustrate the book, which was one of the key texts that inspired the Surrealists. Encouraged by Skira, Dalí began his preliminary sketches in 1932, and it took two years until the work was completed. Although the edition was announced as 210 copies, probably only half of them were ever issued. “Dalí’s first original book illustrations on a large scale” (The Artist and the Book). “...The images are from the artist’s most intense and inventive period, making this his major contribution to the modern artist’s book.” (Riva Castleman). From the edition limited to 210 copies signed by Dali.

The Artist and the Book 67. From Manet to Hockney 99. A Century of Artists Books 94. (#163281) 22. Raoul VERDINI 21. Kurt SELIGMANN Il Capo Squadra Balilla. Les Vagabondages Héraldiques. 96 pp. Illustrated throughout. 8vo., bound in original illustrated By Pierre Courthion. Unpaginated. Illustrated with 15 etchings wrappers in a new cloth folding box. Roma anno XII [1934]. by Kurt Seligmann. Large Folio, 500 x 380 mm, bound in the Milan: Pizi & Pizio, 1934. publisher’s wrappers as issued. Paris: Éditions des Chroniques $ 3500.00 du Jour, 1934 SOLD A small masterpiece of book illustration and of great rarity. As is typical of books produced under Mussolini, the subject matter is One of 105 copies, and signed by both the artist and the author in typical propaganda, in this case promoting the Italian equivalent ink on the justification page. Seligmann’s fascination with magic of the Hitlerjugend. The artist, Raoul Verdini, is best know for and the occult are on full display in the this series of Surreal his work as a comic book illustrator and his pioneering work in etchings illustrating poetry by the Swiss art historian and critic, animated films. This is the third edition. OCLC lists only this Pierre Courthion. Wear to the head and tail caps, otherwise a edition, in one copy at the British Library. An immaculate copy. fine clean copy. (#168523) (# 168740). 23. MAN RAY 24. Georges HUGNET Facile. La Septieme Face du De.

With poetry by Paul Eluard. Illustrated with photographs by With a cover by Marcel Duchamp and 20 decoupage poems by Man Ray. 8vo., 245 x 182 mm, bound in original printed wrappers Hugnet. 4to., bound in original illustrated wrappers in a board in a new grey slipcase and chemise. Paris: Edition G.L.M., 1935. slipcase. Paris: Editions Jeanne Bucher, 1936. SOLD $ 15,000.00

One of Man Ray and Eluard’s most successful collaborations. This celebrated work is a brilliant collaboration between Facile is illustrated with Man Ray’s sensuous nude photographs Duchamp and Georges Hugnet, whose poems are set out in a of Eluard’s wife, Nusch. The “solarized” photographs have been manner reminiscent of Mallarme’s Un coup de dés jamais n’abolira creatively interwoven into the text, both printed on velin paper. le hasard, and which he has illustrated with a series of collages. Duchamp’s cover combines a photograph by Man Ray of his “A prolific creator of dadist and surrealist imagery, Man Ray was readymade “Why Not Sneeze, Rrose Selavy” with an elaborately equally comfortable as a painter-sculptor or as a photographer. lettered title, whose letters contain the names of the heroes Facile is one of the most beautiful surrealist publications of surrealism from Heraclitus and Uccello to Jarry and Charlie containing photography” (Johnson p. 184). Chaplin. An unusually fine copy of this important example of surrealist book-making, which is rarely found in good condition. Ex-libris stamp on front fly-leaf ‘RLB’. Some light toning, a near This is one of 250 copies of the regular edition of a total of 314 fine copy. copies.

Roth, The Book of 101 Books, 86-87. Johnson, Artist’s Books in Schwarz, The Complete Works of Marcel Duchamp, No. 444. the Modern Era, 1870-2000, No. 108. (#164848) Roth, The Book of 101 Books, p. 92. (#158548) 25. IZOSTAT Sotsialisticheskoye stroitel’stvo Soyuza Sovet- skikh Sotsialisticheskikh Respublik.

Edited by Ivan Kraval & Alexander D. Berezin. 220 pp plus 36 unpaginated charts and photographic plates for a total of 256 pages. Profusiously illustrated throughout with photographs, photomontages, maps, charts and isotype diagrams. Large 4to., 360 x 335 mm, bound in publisher’s grey cloth. Preserved in a new grey cloth folding box. Moscow: IZOSTAT, 1936. SOLD

First Edition. One of the major publications from the IZOSTAT publishing house, this substantial album combines the language of diagrams with dynamic, large-scale photo montage and stylized graphic art. The artists include Mechislav Dobrokovsky, Piotr Karachentsev, I.G. Sherman, Dmitry Moor, N.N. Kurganov and Govorkov.

‘The publication is striking for the volume and quality of the printing work.’ (Karsik, The Soviet Photobook 1920-1941). As with similar publications, the grandiosity presented hardly reflected the reality of the Soviet Union in the 1930s.

Although the print run claims 6000 copies, the book is rare with Worldcat locating 1 copy in the US at the University of Chicago and just 2 others worldwide. The binding with some professional restoration, but overall an unusually nice copy.

Karsik, The Soviet Photobook 1920-1941, 246. (#168558) 26. Claude CAHUN Le Coeur de Pic. 27. Joan MIRÓ “Aidez l’Espagne.” By Lise DeHarme. With a preface by Paul Eluard. Unpaginated. Illustrated with 20 photographs by Claude Cahun. Small folio, 270 Pochoir print in Cahiers D’Art, Year 12, No. 4-5. Edited by x 200 mm, bound in publisher’s grey cloth over red boards with Christian Zervos. Illustrated throughout. Folio, 320 x 250 mm, colour photographs on front and back cover by Cahun, preserved bound in original printed wrappers, preserved in a new red cloth in a new maroon cloth folding box. Paris: Jose Corti, 1937. folding box. Paris: Cahiers D’Art, 1937. SOLD $ 7500.00

A superb copy of the rare first edition of this much sought- A fine copy of Mirós celebrated Civil War print, contained in an after “children’s” book by the surrealist Claude Cahun, with a issue of Cahiers D’Art primarily devoted to Picasso’s masterpiece presentation from DeHarme to George Duvau on the front fly- Guernica, which had been displayed at the Paris World’s Fair leaf. Cahun (Lucy Schwob), the celebrated poet, writer and earlier in the year. Covers a bit worn, but the print in pristine photographer is one of the most mysterious figures of the condition. Surrealist movement, incorporating many self-portraits in her montages which are imbued with a keen sense of the absurd. Cramer, Joan Miró: The Illustrated Books, no. IV. (#168839) (#166567) The front free endpaper bears the stamp of Senatore Borletti, an important figure in fascist Italy, and the number 156, presumably a limitation number. Occasional insignificant wear due to the massive size of the book, but generally in immaculate condition.

I Dopolavoro Aziendali in Italia is rare and OCLC lists only Yale, LC and UMass Amherst in the US. (#168790)

(See cover image)

28. Fortunato DEPERO I Dopolavoro Aziendali in Italia.

1410 pp. Illustrated with 96 colour plates and 1 folding map and photomontages throughout. Small folio, 296 x 274, bound in publisher’s blue cloth stamped in gilt. Novara: Instituto Geografico De Agostini, 1938. $ 27,500.00

A fine copy of a virtually unknown work. Fortunato Depero (1892 - 1960) was commissioned to produce a series of illustrations for I Dopolavoro Aziendali in Italia, conceived as a five-volume set published in five languages, on the occasion of the 1938 Third International World Congress of Leisure Time and Recreation (IIIº Congresso Mondiale del Dopolavoro), which convened first in Hamburg before moving to Rome. Depero produced 96 images for the book, each representing a different Italian region and bearing a motto by Mussolini.

The book is a massive overview of the state of Italy under Mussolini in 1938, with surveys of various industries, activities and places, all illustrated with photographs with frequent use of photomontage and dynamic layout. Very similar to the Russian propaganda works of the same period such as USSR in Construction. When combined with Depero’s plates the result is a truly splendid book, and one of the true monuments of the art of the book as propaganda. 30. Joseph CORNELL A Collection of early Pieces of Cornell Eph- emera.

New York and Beverly Hills: 1939-1967. $ 2500.00

Exhibition of Objects by Joseph Cornell. NewYork: Julian Levy Gallery, 1939.

Objects by Joseph Cornell. New York: Art of this Century, Dec. 1942.

From the Dawn of Diamonds Created by Joseph Cornell. New York: Park Lane Hotel, 1946.

Portraits of women; Constructions and Arrangements by Joseph Cornell. New York, Hugo Gallery, Dec. 1946.

29. EL LISSITZKY Joseph Cornell: Objects. Beverly Hills: Copley Galleries, Sept. USSR. An Album Illustrating the State Orga- 1948. nization and National Economy of the U.S.S.R. Aviary by Joseph Cornell. New York: Egan Gallery, Dec. 1949. Edited by Ivan V. Sautin and Ivan P. Ivanitsky. 150 pp. Profusely Night Songs and other New Work-1950 by Joseph Cornell. New illustrated. Oblong 4to., bound in original flexible boards, in a York: Egan Gallery, Dec. 1950. recent cloth box. [Moscow: 1939]. SOLD Winter Night Skies by Joseph Cornell. New York: Stable Gallery, Dec. 1955. A fine copy of this rare and little known spectacular example of Lissitzky’s brilliance as a book designer, which was published Joseph Cornell-Selected Works. New York: Stable Gallery, Dec. for distribution at the 1939 World’s fair. It is hard to imagine 1957. a more dramatic juxtaposition than the vivid contrast between the dry Soviet statistics on such subjects as sanatoriums and Joseph Cornell Collages. New York: Robert Schoelkopf Gallery, rest homes, and Lissitzky’s dramatically imaginative graphics. April-May, 1966. Binding slightly soiled, but nevertheless a fine copy. Les Ballets de Paris.La Lanterne Magique du Ballet Romantique of Karasik and Heiting., The Soviet Photobook 1920-1940, p 258- Joseph Cornell. New York: Hugo Gallery, ND. (#168821) 259. (#167353) also true with Matisse’s Jazz, that process resulted in each pull of each woodcut being akin to a monotype, offering a unique impression of the image.

The original Pantagruel by Rabelais was published around 1532. It was so full of vulgarities, scatological humor, and irreverent behavior, that it was immediately condemned by the church and deemed obscene by the Sorbonne, guaranteeing the book’s enduring popularity!

“As the initiator of Fauve painting, which stunned the world at the Salon d’Automne of 1905, Derain stood shoulder to shoulder with Henri Matisse (1869-1954)…. Derain also created designs for opera, theater, and ballet; most notably Diaghilev’s Le Boutique fantasque (1919). During World War II, when the Germans invaded France, Derain’s home was requisitioned and his preliminary blocks for Pantagruel were locked away for several years. Ultimately, he was allowed back into the house and somehow able to import the enormous amount of paper needed to print nearly 3000 pages for the edition of 275 copies” 31. André DERAIN (Julie L. Mellby “Graphic Arts, Exhibitions, acquisitions, and other Les Horribles et Espovantables Faictz et highlights from the Graphic Arts Collection, Princeton University Prouesses du Très Renommé Pantagruel, Roy Library” online). des Dipsodes, fils du Grand Géant Gargantua The coloured illustra- tions were printed by Text by Francois Rabelais. [2], 187, [11] pp. Illustrated with a total of Lacouriere, the great 179 unsigned woodcuts printed in colour, including: 39 full-page French craftsman best colour woodcuts, 89 smaller colour woodcuts, 34 colour-printed known for his work with initials, and 17 colour-printed decorative ornaments. Folio, 350 copper plates. This x 280 mm, bound loose as issued in the original wrappers with copy is limited to 275. title-label on front cover, preserved in morocco-backed chemise The colophon signed by and matching slipcase. Paris: Albert Skira, 1943. Derain. SOLD The Artist and the Derain’s Pantagruel is considered to be one the landmarks of Book 81. From Manet modern book illustration. It was a remarkable publishing event, to Hockney 111. Skira being created and produced in Paris in the middle of the Second 91. Rauch 38. Garvey World War. & Wick, The Arts of the French Book 1900- Inspired by Medieval playing cards, Derain spent two years 1965, 27. Logan 118. working on the 179 woodcuts for this book. Instead of using (#148967) separate blocks for individual colours, each woodcut was printed from a single block with all colours applied à la poupée. As is 32. Dieter ROTH Kinderbuch.

28 pp. With colour illustrations throughout. 4to., 320 x 320 mm, in publisher’s ring-bound illustrated boards, in a new cloth folding box. Reykjavik, Iceland: Forlag Ed, 1957 $ 15,000.00

Dieter Roth’s first book, Kinderbuch [Children’s Book], which he designed himself, was initially produced as a unique work, made in 1954 for the German dramatist and concrete poet Claus Bremer’s son. Bremer returned the book to the artist and suggested that Roth try to have it published. Some minor wear, but generally a fine copy of this outstanding rarity. From the Library of Walter Bareiss with his bookplate by Georg Baselitz (signed).

This is one of 75 unsigned copies. There were also 25 signed copies with cut-outs. Not listed on OCLC. (#167932) For this edition Miró cut 233 woodcuts with the collaboration of Enric Tormo; together these men spent eleven years on the project. Miró used planks of wood, plastic wood, wire, old wood engravings, and bark paper to achieve the exuberant embellishments that practically dance on the pages of this perfectly produced book. These famous prints were prepared and printed by Jacques Frélaut at the Atelier Lacourière in Paris. “I am completely absorbed by the damn book. I hope to create something sensational, the most important achievement in engraving since Gauguin” (Miró in a letter to the publisher Cramer, April 1948).

“À Toute Épreuve is a compendium of so many of the formal 33. Joan MIRÓ and iconographic ideas that Miró explored throughout his career, and in many ways even represents a culmination of À Toute Épreuve. his aesthetic goals” (Braziller, in preface to 1984 edition of À Toute Épreuve). “A brilliance of By Paul Eluard. 46 ff. Illustrated with 79 woodcuts by Miró invention and a vitality of form printed in colour. 4to., 320 x 250 mm, loose as issued in original and color sweep through the colour printed wrappers illustrated by Joan Miró. In original pages of this most distinguished chemise and bamboo slipcase. Preserved in a new red cloth example of Surrealist book folding box. Geneva: Gérald Cramer, 1958. PLUS: production” (Garvey). Fine copy of “one of the most original and ______. Two Original Woodblocks for the Printed Edition, beautiful books of the century” carved by Miró himself. One large woodblock for a double-page (Castleman). spread, 495 x 320 mm. (Dupin 233) and one small woodblock for small ornament 51 x 30 mm. (Dupin 171). Preserved in yellow The Artist and the Book 209. morocco box with red leather title label. [Paris: Cramer, 1958]. Soby, Joan Miró 29 and pp. 135- $ 95,000.00 139. A Century of Artists Books 34 & 101. From Manet to Hockney A unique copy of a monument of twentieth-century book 121. Dupin, Miró Engravings I, illustration, and THE high watermark of Miró’s career as a book- 161-234. Cramer, Joan Miró, The illustrator. This copy accompanied by two of the woodblocks Illustrated Books: Catalogue used in the making of the book, which is itself an original Miró Raisonné 49. Artists’ Books in sculptural object. “One of the most triumphant feats of book the Modern Era 139. (#167302) illustration in our century” (Soby). Limited to 80 copies of the regular issue, from a edition of 130 copies. 34. Marcel DUCHAMP Eau et Gaz à Tous les Étages.

Accompanied by a self-portrait of Duchamp signed “Marcel Dechiravit,” with a hand-coloured engraving of “Grand Verre,” an original pochoir frontispiece, and a pochoir of the readymade “Eau et Gaz à Tous les Étages” signed by Duchamp. Folio, 330 x 245 mm, bound loose as issued, in the publisher’s cloth bound box, in a new cloth folding box. Paris: Trianon Press, 1959. $ 75,000.00

A MINT copy of the deluxe edition of the first catalogue raisonné of the work of Marcel Duchamp, containing 208 detailed entries and an extensive bibliography. It comes in a box designed by the artist with a signed readymade mounted on the front cover, reading: “Eau et Gaz à Tous les Étages.” This expression was a common part of real estate signage in early twentieth-century France, and it was a continuing theme in Duchamp’s manuscript notes dating back to 1911. In its day the sign indicated a building with modern conveniences, thus setting it apart from nineteenth- century structures.

The catalogue raisonné itself, entitled: Sur Marcel Duchamp contains 122 plates and was compiled by Robert Lebel in co-operation with Duchamp, a collaboration which is well documented in a reprint of the catalogue made by the Centre Georges Pompidou in 1996.

The red cloth covered box bears a mounted autoportrait de profil of Duchamp, signed “Marcel Dechiravit.” The box has two hinged panels of an acetate reproduction and a collotype reproduction, with the former depicting a scale-version of Duchamp’s famous The Bride Stripped Bare by her Bachelors, Even (the Large Glass), which was the inspiration for three of Duchamp’s most important artist’s books: The Box of 1914, The Green Box (1934), and A l’Infinitif (The White Box, 1967). Schwarz, The Complete Works of Marcel Duchamp, No. 563. Number 86 of an edition of 137 copies, with the pochoir of the Johnson, Artists’ Books in the Modern Era, 1870-2000, No. 136. readymade initialed by Duchamp, the autoportrait, which is Duchamp. Exposicio organitzada per la Fundacio Joan Miro, on pinkish paper, signed by Duchamp, and with the colophon No. 60. signed by both Duchamp and Lebel. 35. Alexander ZHITOMIRSKY 36. POP ART Five political photomontage pamphlets Stamped Indelibly. designed by A. Zhitomirsky. Edited by William Katz. With fifteen rubber-stamp prints by 8vo. Original wrappers, in a new cloth folding box. Moscow: Gos. various artists including Robert Creeley, Allen Ginsberg, Robert izdat. politicheskoi literatury, 1962. Indiana, Andy Warhol, and Tom Wesselmann among others. $ 4750.00 4to., bound in original linen. New York: Indianakatz, 1967. $ 12,500.00 A complete set of these rare pamphlets with their drammatic covers designed by Alexander Zhitomirsky. Zhitomirsky who William Katz wanted to create a book using as modest and somehow managed to survive from 1907 to 1003 was the Russian simple a technique as possible. He asked his Pop artist writer Heartfield. Zhitomirsky’s montages and collages would come friends to design commercially made rubber stamps which he to form a significant part of Soviet mass culture in the 1950s then hand printed to create this book. The book consists of a and 1960s, and his work during World War II is now considered title-page and 15 rubber-stamped images printed in color and pivotal in the development of the art of political propaganda, black-and-white. Each print is signed and dated by the artist alongside the work of German artist John Heartfield and fellow except for the prints by Grooms, Koch, and Warhol which are Russian artists Aleksandr Rodchenko, El Lissitzky, and Gustav signed in rubber stamps. One of 225 copies signed by William Klutsis. His work was so effective that Joseph Goebbels, Minister Katz on the colophon page. An immaculate copy of what is now of Propaganda in Nazi Germany and himself one of the masters a very scarce book. of wartime propaganda, is said to have placed him on the Third Reich’s list of “most wanted” enemies with the order “to find and Printed Art: A View of Two Decades 19. Books as Art 90. The to hang.” (#168818) American Livre de Peintre 51. (#160009) 37. Jim DINE The Picture of Dorian Gray. A Working Script for the Stage from a Novel by Oscar Wilde.

Illustrated with 12 full-page coloured lithographs, a full-page coloured title, and hundreds of textual illustrations, notes and marginalia by Dine throughout. PLUS: an additional suite of six lithographs and four etchings, all signed by Jim Dine. Folio, 445 x 305 mm, bound by Rudolph Rieser in deluxe red calf, screenprinted with snakeskin patterns on all surfaces, the suite of ten additional plates in a separate chemise, the whole enclosed in an elaborate velvet-lined box revealing a large sculpted- leather heart “dripping blood” (after a design by Dine), in a new red cloth box. London: Petersburgh Press, 1968. SOLD

One of the few genuine “artist’s books” completely designed and illustrated by Dine, and the first book issued by the Petersburg Press. Published in three limited editions: A (200 copies, with six lithographs), B (200 copies, with four etchings), and C (100 copies, with both the lithographs and the etchings).

This copy belongs to Edition C, one of 100 copies “bound in leather” with the extra suite of 10 ten prints signed by Dine, six lithographs and four etchings.

The text is a lithographic reproduction of a working typescript of Dine’s stage version of Wilde’s great novel; it contains numerous MS corrections, line drawings, and notes on the text by Dine. The play was never staged but Dine’s drawings for the costumes and his typescript were preserved and used to create this compelling book published by the Petersburg Press.

The colour lithographs and etchings were prepared on zinc and aluminium plates by the artist. They were subsequently printed by Atelier Desjobert & Atelier Leblanc, Paris. It represents one of Dine’s most successful illustrated books.

A Century of Artist’s Books, p. 71. From Manet to Hockney 142. (#154430) 38. Renee SASSON Esmaltes. 39. Lawrence ALLOWAY Artists and Photographs. With text by Walmir Ayala. Containing six different enameled pieces by Sasson, each on a linen mount signed and numbered Folio, as issued in the original illustrated cardboard box designed on the verso by the artist, with a small paper pamphlet containing by Dan Graham, housed in a new linen cloth box. New York: Ayala’s poem. 4to., 215 x 215 mm, housed in publisher’s linen Multiples, Inc., 1970. chemise and slipcase. Sao Paulo: Julio Pacello, 1969. SOLD $ 3500.00 An immaculate copy of this legendary pop art box, which A delightful work by this little-know Brazilian artist who created contains editions by 19 artists and a softcover brochure. This a series of enamels to illustrate the text of her fellow Brazilian, copy is very clean and is complete, including the rare Gormley the polymath Walmir Ayala. Loss to spine label (peeled off and multiple. Edited by Marian Goodman with text by Lawrence worn, the fragment housed inside the box slipcase). One of an Alloway. Artists involved: Mel Bochner, Christo, Jan Dibbets, Tom edition of 50 copies. (#168169) Gormley, Dan Graham, Douglas Huebler, Allan Kaprow, Michael Kirby, Joseph Kosuth, Sol LeWitt, Richard Long, Robert Morris, Bruce Nauman, Dennis Oppenheim, Robert Rauschenberg, Ed Ruscha, Robert Smithson, Bernar Venet, Andy Warhol. Multiple (Group) A list of the contents available on request.(#165676) 40. Richard AVEDON Self-Portrait in a Convex Mirror.

By John Ashbery. Containing an original signed photograph by Richard Avedon, and seven original, signed prints by: Elaine de Kooning, Willem de Kooning, Jim Dine, Jane Freilicher, Alex Katz, R.B. Kitaj and Larry Rivers. With a recording of Ashbery reading his poem. Prints and record housed in a stainless steel Hollywood movie canister with a convex mirror on the lid. San Francisco: Arion Press, 1984. $ 17,500.00

Limited to 150 copies. John Ashbery’s Pulitzer prize-winning poem is presented in this creative format by the Arion Press, text and illustrations laid in a stainless-steel “Hollywood” movie canister with convex mirror on the lid. The cover mirror provides a self-portrait of the beholder in the manner of Parmigianino’s painted portrait with elongated features.

Designed as a tribute to Ashbery, his poem is accompanied by signed prints from his artist-friends, united within a circular format. Each artist created images inspired by the poem; also included is a reproduction of the famous self-portrait by Parmigianino that originally inspired Ashbery to compose the poem.

The prints are in various media, including lithography, etching, and woodcut. The text is printed in handset type radiating from a circular hub like spokes in a wheel. Along with the record of Ashbery reading the poem, there is a new foreword to the poem written by the poet. The foreword is signed by Ashbery and each original print bears the particular artist’s signature. Fine copy. Now very scarce.

Johnson, Artists’ Books in the Modern Era 1870-2000, No173. Arion Press Check List 13. (#168518)

41. Richard TUTTLE Hiddenness. 42. George CONDO Ghost of Chance. By Mei-Mei Berssenbrugge. Illustrated with original prints, including lithograph, silkscreen and hand-stamped monotypes By William S. Burroughs. Unpaginated. Illustrated with three by Richard Tuttle. Folio, 380 x 255 mm, bound in publisher’s etchings by Condo with several tipped-in color illustrations. concertina blue paper over boards in the original folding case. Folio: Bound in publisher’s black cloth in a matching slipcase. New York: The Library Fellows of the Whitney Museum, 1987. New York: Library Fellows of the Whitney Museum of Art, 1991. $ 5000.00 $ 2500.00

One of the most successful of the Whitney publications. The Frequent collaborators, George Condo and William Burroughs, book combines imaginative mis-en-page with Richard Tuttle’s combine their unique points of view in one of the more successful dazzling illuminations that comprise a variety of print techniques, works published by Library Fellows of the Whitney Museum silkscreen, monotype and colour lithography. One of an edition of Art. Limited to 160 copies, signed by both Burroughs and of 120 copies signed by the artist and the author. A fine copy Condo. A mint copy. (#168610) with a somewhat worn folding case. (#168696) 43. Francesco CLEMENTE 44. Georg BASELITZ Life & Death. 1001 Nacht.

Unpaginated, accordion-fold. Illustrated with seven original Unpaginated. Illustrated with 4 etchings by Baselitz. Folio, photogravures after paintings by Francesco Clemente. 8vo., bound in original wrappers designed by Christian Zwang, in bound in publisher’s gilt-stamped Japanese tea chest paper, publisher’s cardboard slipcase. Muenster: Kleinheinrich, 1995 preserved in a new black cloth box. New York: Grenfell Press, SOLD 1993. SOLD An immaculate copy of this handsomely produced book in which Baselitz provides four etchings to illustrate the story of The First Edition of these seven poems by Robert Creeley which Porter and the Three Ladies of Baghdad from the 1000 Nights. were inspired by seven black and white paintings by Clemente. One of an edition of 180 copies, signed by Baselitz. (#168522) Limited to 70 copies (the entire edition) printed on Arches, signed by Creeley and Clemente. A fine copy of this exquisite book. (#168530) 45. Irma BOOM and Johan PIJNAPPEL 47. Wayne THIEBAUD SHV 1896-1996. [Centennial Album / Jubileum- Invisible Cities. boek]. AKA Thinkbook. Text by Italo Calvino. Translated from the Italian with a new introduction by William Weaver. 164 pp. Illustrated with twelve 2136 pp. Thick 8vo., 230 x 180 x 120 mm, bound in publisher’s drawings of sites and artifacts by Thiebaud. Folio, 14 x 12 inches, boards and cardboard box. Utrecht: SHV Holdings, 1996. bound by Paul Sheet in an anodized aluminum ring binding with $ 7500.00 U-posts, allowing the leaves to be turned over in sequence. San Francisco: Arion Press, 1999. An immaculate copy of the chef d’oeuvre of the Dutch designer $ 4250.00 Irma Boom. Commissioned to commemorate the centenary of the Steenkolen Handels Vereeniging, a coal conglomerate, the Limited Edition of 400 copies numbered and signed by the artist. book took 5 years to make. In order to save trees, the book The artist Wayne Thiebaud contributed twelve drawings, with was printed on cotton based banknote paper. Among the many the idea that the images of cities and objects remain invisible features is the fore-edge, which starts out as a field of tulips until the reader takes action. To realize this concept, Andrew and can be transformed into a poem by Gerrit Achterberg. Hoyem designed the book with the drawings printed on clear Laser printing, multi-colour printing, sophisticated computer plastic in different colours of inks, each matching the colour of techniques and special screens were used to reproduce hundreds the following sheets. The images are revealed only when the of documents and photographs. The result is a masterpiece of transparent plastic sheet is turned back onto the preceding book design. This is one of the 500 copies printed with English page, a white sheet with printed text. As new. (#159612) text. (#166812) 48. Raymond PETTIBON Plots on Loan. 49. Beatriz MILHAZES Coisa Linda. 72 pp. Illustrated with lithographic text and images throughout. Large folio, 493 x 367, bound in publisher’s illustrated cloth. Unpaginated. Illustrated with 34 hand-printed screen prints and New York: Brook Alexander Editions & David Zwirner, [2000]. a unique collage. 4to., bound in original decorated blue and gold SOLD cloth, yellow paper spine in a yellow cloth slipcase. New York: Library Council of The Museum of Modern Art, 2002. One of 250 copies, signed by Pettibon in pencil in the imprint. $ 8500.00 “Raymond Pettibon’s darkly poetic work takes the form of pen-and-ink drawings incorporating brief handwritten texts... The first book published in “Contemporary Editions” by the Pettibon worked on the lithographs for the book Plots on Loan, Library Council of the Museum of Modern Art. This exquisite book for over seven years. Its large format on thick archival paper was created by contemporary Brazilian artist Beatriz Milhazes. monumentalizes the ephemeral nature of the earlier Xerox Each copy contains thirty-four hand-printed screenprints by booklets.” (Figura). A fine copy. Milhazes, and a unique collage. The screenprints are printed in forty colors and are bound in a hand-printed cover, all created Publication excerpt from an essay by Starr Figura, in Deborah by Milhazes in collaboration with the printmaker Jean-Paul Wye, Artists and Prints: Masterworksfrom The Museum of Russell of the Durham Press. The images are accompanied by Modern Art, New York: The Museum of Modern Art, 2004, p. lyrics from both traditional and contemporary Brazilian songs 249. (#168524) that have inspired the artist. Edition of 175 copies. As new. 50. Olafur ELIASSON Your House.

908 pp. Illustrated by Olafur Eliasson using computer-aided laser die-cuts. Oblong folio, 285 x 440 mm, bound in original cloth. New York: Library Council of the Museum of Modern Art, 2006. $ 18,500.00

Conceived by Olafur Eliasson as part of the Contem-porary Editions series at the Museum of Modern Art, this book is one of the more exciting new achievements in book making in the 21st Century. The subject of the book is Eliasson’s house in Denmark that is rendered in a vertical cross section through an elaborate laser die-cut process of each page. The format of the book allows Eliasson the space to fully realize his idea on a scale of 85:1, so that each leaf corresponds to 2.2 centimeters of the actual house.

Eliasson summarizes the experience of viewing this book, “Reading a book is both a physical and a mental activity. It is like walking through a house, following the layout of the rooms with your body and mind: the movement from one room to another, or from one part of the book to another, constitutes an experiential narrative that is physical and conscious at the same time.”

Signed by Eliasson on the colophon. One of an edition of 225 copies. Condition is as new. Despite its recent publication date, the book is rare to find on the market.(#162905) No. 20, Dalí